A Companion to Twentieth-Century United States Fiction by David Seed

By David Seed

Via a wide-ranging sequence of essays and proper readings, A spouse to Twentieth-Century usa Fiction provides an summary of yankee fiction released because the end of the 1st global War.  * encompasses a wide-ranging sequence of essays through American, British, and ecu experts in a number of literary fields* Written in an approachable and obtainable kind* Covers either vintage literary figures and modern novelists* offers wide feedback for extra interpreting on the finish of every essay

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Additional resources for A Companion to Twentieth-Century United States Fiction (Blackwell Companions to Literature and Culture)

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Modernity and Revolution,” in Marxism and the Interpretation of Culture, ed. Cary Nelson and Lawrence Grossberg, pp. 317–33. : University of Illinois Press. , Jr. (1987). Modernism and the Harlem Renaissance. : University of Chicago Press. Barbour, Scott, ed. (2000). American Modernism. : Greenhaven. Barnard, Rita (1995). The Great Depression and the Culture of Abundance. Cambridge: Cambridge University Press. Crane, Stephen (1996). Prose and Poetry, ed. J. C. Levenson. New York: Library of America.

North, Michael (2005). Camera Works: Photography and the Twentieth-Century Word. New York: Oxford University Press. Rubin, Joan Shelley (1992). The Making of Middlebrow Culture. : University of North Carolina Press. Stansell, Christine (2000). American Moderns: Bohemian New York and the Creation of a New Century. New York: Metropolitan Books. Stein, Gertrude (1990). Three Lives [1909]. New York: Penguin. Tichi, Cecilia (1987). Shifting Gears: Technology, Literature, Culture in Modernist America.

In McKay’s novel, affirmative and negative visions of Harlem are expressed through its two central characters. Jake, McKay’s prototype of the African American common man, returns The City Novel 27 to Harlem from England and World War I and is immediately enraptured by the sensual diversity of the community: “ ‘Harlem! ’ thought Jake. ‘Where else could I have all this life but Harlem? Good old Harlem! Chocolate Harlem! ’ ” (McKay: 15). In contrast, Ray, McKay’s prototype of the black artist and intellectual, is hindered in realizing his literary ambitions by a crippling self-hatred and an embittered view of the international black masses as a perennially exploited people.

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